"In A Time Of Universal Deceit, Telling The Truth Becomes A Revolutionary Act" - George Orwell, Author
.....
"All Truth Passes Through Three stages. First: It Is Ridiculed, Second: It Is Violently Opposed, And Third: It Is
Accepted As Self-Evident" – Arthur Schopenhauer, Philosopher

Friday, July 5, 2013

New Article From Whitewraithe: How Hollywood Conquered A Superpower- Part II

As promised, I want to present Part II of Whitewraithe's expose on the truth about Hollywood and the Entertainment industry... It comes from her website: Pragmatic Witness II, at www.pragmaticwitnessii.wordpress.com, and is entitled: "How Hollywood Conquered A Superpower -Part II".... I have it right here for everyone to see for themselves, and my own comments to follow:

How Hollywood Conquered a Superpower – Part II

WW~Notes:
Partially revised 7/6/13 – After publishing the second half of this
essay, I realized it required a lot more pivotal information that I
failed to include. Basically, I wrote an outline and didn’t fill in the
blank areas. My apologies, readers. I was a bit rushed for time
because I wanted Deanna Spingola to have a current essay on this
subject. I’m am working on the essay’s completion as we speak. Check
back several times this evening as it should finally be finished close
to midnight just to give myself enough time.

Update,
Saturday 7/6/13 – I’ve spent the entire day trying to finish this
essay, but with all the interruptions today, it wasn’t possible.
Hopefully, tomorrow it will be completed. However, there was quite a
bit of new material and images added today.

By Whitewraithe~Upon arrival in Hollywood, Jewish immigrants immediately changed
their surnames to the more affable sounding European last names, which
not only obscured their faith but also helped establish them as true
Americans. During Hollywood’s early years the “jewishness” of the dream
factory did not appear to be of importance. It was well known that
Jews headed the most prestigious studios, Metro-Goldwyn-Mayer being
number one with Louis B. Mayer at the helm issuing orders with an iron
fist.

Affectionately known as “Papa Mayer”, Louis B. Mayer was born Lazar Meir, possibly on July 12, 1884, to a Jewish family in Minsk, in the Russian Empire.
His parents were Jacob Meir and Sarah Meltzer and he had two
sisters—Yetta, born in 1878, and Ida, born in 1883. Mayer first moved
with his family to Rhode Island, where they lived from 1887 to 1892 and
where his two brothers were born—Rubin, in April 1888, and Jeremiah, in
April 1891. Then, they moved to Saint John, New Brunswick, Canada and Mayer attended school there which he did not enjoy very much.
His father started a scrap metal business, J. Mayer & Son. In 1904,
the 19-year-old Mayer left Saint John for Boston, where he continued
for a time in the scrap metal business, married, and took a variety of
odd jobs to support his family when his junk business lagged.

As a studio boss, Louis B. Mayer built MGM into the most financially
successful motion picture studio in the world and the only one to pay
dividends throughout the Great Depression. For nine years from 1937,
when he earned $1,300,000—equivalent to $20,760,880 today—Mayer was the
highest-paid man in the United States.

In 1948, United States v. Paramount Pictures, Inc.
(1948), a Supreme Court decision severed the connection between film
studios and the movie theater chains that showed their films (though it
would be another six years before Loew’s sold majority control of MGM).
The introduction of television and changing public tastes, also reduced
MGM’s prestige. Under instructuion to control costs and hire “a new
Thalberg”, Mayer hired writer and producer Dore Schary
as production chief. Schary, who was 20 years younger than Mayer,
advocated message pictures over Mayer’s preference for “wholesome”
films.

By 1951, MGM had gone three years without a major Academy Award, which provoked further conflict between Mayer and Schenck.
Believing that Mayer could not turn the tide, Schenck fired Mayer from
the post he had held for 27 years, replacing him with Schary. The firing
reportedly came after Mayer called New York and issued an
ultimatum–”It’s him or me” (or “It’s either me or Schary”, depending on
the source). Mayer tried to stage a boardroom coup but failed and
largely retired from public life.

Paradigm Shift

A Paradigm Shift
is when a significant change happens – usually from one fundamental
view to a different view. In most cases, some type of major
discontinuity occurs as well.

Thomas Kuhn wrote about Paradigm Shift during the early 1960s, and
explained how a “series of peaceful interludes punctuated by
intellectually violent revolutions” caused “one conceptual world view to
be replaced by another view.”

In laymen terms, Paradigm Shift is a popular, or perhaps, not so popular
shift or transformation of the way we Humans perceive events, people,
environment, and life altogether. It can be a national or international
shift, and could have dramatic effects — whether positive or negative — on the way we live our lives today and in the future.

Film Noir

Two
silhouetted figures in The Big Combo (1955). The film’s cinematographer
was John Alton, the creator of many of film noir’s stylized images.

The precursor to the 1960s paradigm shift were the subtle changes
already occurring between the 1940s and the late 1950s with the advent
of “film noir.”

Film Noir is a cinematic term used primarily to describe stylish
crime dramas, particularly those that emphasize cynical attitudes and
sexual motivations. Hollywood’s classical film noir period is generally
regarded as extending from the early 1940s to the late 1950s. Film noir
of this era is associated with a low-key black-and-white visual style
that has roots in German Expressionist cinematography. Many of the
prototypical stories and much of the attitude of classic noir derive
from the hardboiled school of crime fiction that emerged in the United
States during the Great Depression.

The term film noir, French for “black film,” first applied to
Hollywood films by French critic Nino Frank in 1946, was unrecognized by
most American film industry professionals of that era. Cinema
historians and critics defined the category retrospectively. Before the
notion was widely adopted in the 1970s, many of the classic films noir were referred to as melodramas. Whether film noir qualifies as a distinct genre is a matter of opinion.

Film noir encompasses a range of plots: the central figure may be a private eye (The Big Sleep), a plainclothes policeman (The Big Heat), an aging boxer (The Set-Up), a hapless grifter (Night and the City), a law-abiding citizen lured into a life of crime (Gun Crazy), or simply a victim of circumstance (D.O.A.). Although film noir
was originally associated with American productions, films now so
described have been made around the world. Many pictures released from
the 1960s onward share attributes with film noir of the classical period, and often treat its conventions self-referentially. Some refer to such latter-day works as neo-noir. The clichés of film noir have inspired parody since the mid-1940s.

Lizabeth Scott

For the first time in cinematic history the lines were starting to
blur between the hero and the anti-hero. The anti-hero was not
necessarily interpreted as the bad guy. And screenwriters occasionally
left the outcome of the story to the audience’s decision. Movie goers
were also treated to a whole host of new actors, with the men more
grittier and determined, while the women became gutsy and sexier.
Actors like Robert Mitchum, Kirk Douglas, Humphrey Bogart, Jane Greer, Lizabeth Scott, and Lauren Bacall were among the most popular and talented of the film noir era.

The Introduction of Television

In 1947, Motorola introduced the VT-71 television for $189.95, the
first television set to be sold for under $200, finally making
television affordable for millions of Americans. While only 0.5% of U.S.
households had a television set in 1946, 55.7% had one in 1954, and 90%
by 1962.

By 1960, the television set already was a staple in the American
household, further securing the indoctrinating cultural influence from
Hollywood’s Jewish studio moguls. As witnessed in THE PROTOCOLS OF THE LEARNED ELDERS OF ZION,
the “dream factory” was the primary weapon of the tribe to distract and
influence the Gentiles. But instead of sitting in a theater, now the
viewer could sit at home and watch the propaganda box until the network
signed off. But there was one more advantage to the distraction of the
masses through television.

Low Alpha Waves: Causes: Radiant Light“While watching television, the brain appears to slow to a halt, registering low alpha wave readings on the EEG. This is caused by the radiant light produced by cathode ray technology [CRT, LCDs also?] within the television set [increases
serotonin levels?]. Even if you’re reading text on a television screen
the brain registers low levels of activity. Once again, regardless of
the content being presented, television essentially turns off your
nervous system.” Television: Opiate of the Masses

“Psycho-physiologist Thomas Mulholland found that after just 30 seconds of watching television the brain begins to produce alpha waves, which indicates torpid (almost comatose) [slow]rates of activity. Alpha brain waves are associated with unfocused, overly receptive states of consciousness. A high frequency alpha waves [sic] does not occur normally when the eyes are open. In fact, Mulholland’s research implies that watching television is neurologically analogous to staring at a blank wall.

I should note that the goal of hypnotists is to induce slow brain wave states. Alpha waves are present during the ‘light hypnotic’ state used by hypno-therapists for suggestion therapy.” Telly Addicts

“Radiant light, the light of [CRT] cathode ray technology [LCD fluorescent backlights also emit light], produces a dramatic - of all brain activity
associated with high energy, alert, healthy, disequilibrium [the term
disequilibrium is used here to describe the flexibility of brainwave
states?]. Television and VDT viewing take from the brain the best
features of its highest non-passive functioning. McLuhan Studies: Issue 3: Chaos and the Meaning of Electric Culture

Hollywood has been used to its fullest extent since its inception in the early 20th century. With THE PROTOCOLS OF THE LEARNED ELDERS OF ZION
in close proximity they’ve saturated the masses with their version of
history, science and philosophy by interpolating events with minute
variations undetectable by the average person for over a century. But
Hollywood not only altered the viewer’s perception of history, the
‘dream factory’ literally changed the course of history, especially
during the 1960s. Before the 60s, the American population still lived
behind white picket fences, loved grandma’s apple pie and on Saturday
afternoons fathers’ could still be seen pitching a baseball to their
sons in the front yard of any random neighborhood. Of course, life
wasn’t that idyllic, but it was awfully close. Then, the decade that
would turn America upside down and inside out came in like thunder in
1960.

New Hollywood

Post-classical cinema is the changing methods of storytelling in the
New Hollywood. It has been argued that new approaches to drama and
characterization played upon audience expectations acquired in the
classical period: chronology may be scrambled, storylines may feature “twist endings“, and lines between the antagonist and protagonist may be blurred. The roots of post-classical storytelling may be seen in film noir, in Rebel Without a Cause (1955), and in Hitchcock’s storyline-shattering Psycho.

New Hollywood or post-classical Hollywood, sometimes referred to as the “American New Wave“, refers to the time from roughly the late-1960s (Bonnie and Clyde, The Graduate) to the early 1980s (Heaven’s Gate, One from the Heart)
when a new generation of young filmmakers came to prominence in
America, influencing the types of films produced, their production and
marketing, and impacted the way major studios approached filmmaking.
The films they made were part of the studio system, and these
individuals were not “independent filmmakers”, but they introduced
subject matter and styles that set them apart from the studio traditions
that an earlier generation had established ca. 1920s-1950s. New
Hollywood has also been defined as a broader filmmaking movement
influenced by this period, which has been called the “Hollywood
renaissance”.

James Bond – 007In 1962, Ian Fleming’s 1958 spy novel, DR. NO,
was adapted for the big screen and made movie history. It also set the
bar for every subsequent film about espionage and spies and created the
“secret agent” genre. Starring Welsh actor, Sean Connery as Bond, and
Swiss/American actress, Ursula Andress as Honey Ryder, it was the first
of 23 successful Bond films. Many of the iconic aspects of a typical
James Bond film were established in Dr. No: the film begins with
an introduction to the character through the view of a gun barrel and a
highly stylised main title sequence, both created by Maurice Binder.
Production designer Ken Adam established an elaborate visual style that
is one of the hallmarks of the Bond film series.

A number of Hollywood film studios did not want to fund the films, finding them “too British” or “too blatantly sexual”. The producers offered Dr. No to Guy Green, Guy Hamilton, Val Guest and Ken Hughes to direct, but all of them turned it down. They finally signed Terence Young who had a long background with Broccoli’s Warwick Films
as the director. Broccoli and Saltzman felt that Young would be able
make a real impression of James Bond and transfer the essence of the
character from book to film. Young imposed many stylistic choices for
the character which continued throughout the film series. Young also
decided to inject much humour, as he considered that “a lot of things in
this film, the sex and violence and so on, if played straight, a) would
be objectionable, and b) we’re never gonna go past along the censors;
but the moment you take the mickey out, put the tongue out in the cheek, it seems to disarm.”

Bond was the first movie character I remember that was portrayed as
the stereo-typical late 20th century man. The “sexual revolution” that
was about to ensue in America had already been playing out in Britain.
Thinking back on this era I can only imagine that the men of the day
were given ‘carte blanche’ to obtain as much carnal knowledge from every
woman they met as was possible. The Bond films, although discreet and
with a little slapstck comedy thrown in, were inundated with sex and
sexual innuendo. Although Bond was a bachelor he bedded every woman he
encountered, except for Moneypenny, M’s secretary. Basically, Bond was a
whore, but a lovable one. You couldn’t blame him because women threw
themselves at his feet. And you knew what was about to happen when Bond
closed the bedroom door, or pulled a curtain; one would have to pretty
ignorant if they could not interpret the signals between a man and a
woman, especially in the heat of passion. In any given Bond film, there
are at least a half dozen women he engages in sex. And they don’t
necessarily have to be single either.

What kind of role model is Bond? In the 19th century he would have been considered a “cad.” A cad is someone who behaves in a dishonorable or irresponsible way toward women.

Bond’s creator, Ian Fleming, also appeared to have an irreverence
toward women with the distasteful gaggle of overtly sexual names for his
female characters called “Bond Girls.” A Bond girl is a
character (or the actress portraying a character) who is a love interest
of James Bond in a film or novel. Bond girls occasionally have names
that are double entendres or puns, such as Pussy Galore, Plenty O’Toole, Xenia Onatopp, or Holly Goodhead,
and Honey Ryder, to name a few. They are considered “ubiquitous
symbol[s] of glamour and sophistication.” However, I disagree with that
assessment. In the 1960s even as the culture was experiencing its
paradigm shift, in middle-class society these women would have been seen
as “loose” or “cheap” lacking morals and Christian values. Most
middle-class men, especially church goers would consider them unclean
and would feel nothing except maybe distain.

James Bond films, although, filled with action, adventure, and
beautiful women hacked away at America’s fading morality and Christian
values with the equivalent of Thor’s Hammer. With every release of a
Bond film and over time, men changed their attitudes toward women in
that they provided less respect and further expected every women to
submit to their advances no matter how subtle, and if they failed the
men just moved on. By the time I came of age, there were very few
decent young men. Most guys were deliberately guarded, or
psychologically unavailable. But they had been raised watching James
Bond films; so if they treated girls with less respect the guys were
considered “cool,” when in reality they were anything but.

1960s CounterCulture

The counterculture
movement had a significant effect on cinema. Movies began to break
social taboos such as sex and violence causing both controversy and
fascination. They turned increasingly dramatic, unbalanced, and hectic
as the cultural revolution was starting. This was the beginning of the New Hollywood
era that dominated the next decade in theatres and revolutionized the
film industry. Films of this time also focused on the changes happening
in the world. Dennis Hopper‘s Easy Rider (1969) focused on the drug culture of the time. Movies also became more sexually explicit, such as Roger Vadim‘s Barbarella (1968) as the counterculture progressed.

The rise of independent producers that worked outside of the Studio System.

3 films that changed America – (insert material)Leaders of the PackIn September 1993, The X-files
premiered on the FOX Television Network and it was the first sci-fi
drama that openly proclaimed the ‘jewishness’ of a leading character.
Special FBI Agent Fox Mulder was portrayed by Jewish actor David
Duchovny with Special FBI Agent Dana Scully portrayed by Gillian
Anderson. Scully, who also is a doctor, was not just a Christian but a
devout Catholic to boot.

Together they investigated X-Files:
marginalized, unsolved cases involving paranormal phenomena. Mulder
believes in the existence of aliens and the paranormal while Scully, a
skeptic, is assigned to make scientific analyses of Mulder’s discoveries
that debunk Mulder’s work and thus return him to mainstream cases.
Early in the series, both agents become pawns in a larger conflict and
come to trust only each other. Mulder’s character is a tenacious
steamroller in his quest to prove the existence of extraterrestrials,
and further prove, that during childhood his sister, Samantha, was taken
by the Greys. He allows no interference and cannot rest until his
mission is completed. In a subtle form of brainwashing The X-files
lightly demonstrated that Christians would be better served if they
followed the Jews, and that “might versus right” regardless of the
damage that might happen, who it may hurt, injure or even kill.

To date, in most television crime dramas there is a Jewish leading character. Example: CRIMINAL MINDSinitially
starred Jewish actor, Mandy Patinkin, as Special Agent Jason Gideon and
co-creator of the Behavioral Analysis Unit. After Patinkin’s departure
later in the series, actor Thomas Gibson who portrays Aaron “Hotch”
Hotchner, another Jewish character, now leads the BAU.

The No. 1 crime drama in America is based on the military’s Naval Criminal Investigative Service, or N.C.I.S.,
which is led by former Marine Gunnery (Gunny) Sargeant LeRoy Jethro
Gibbs brilliantly portrayed by former California surfer, Mark Harmon.
The most bizarre aspect of the program is that a member of the primary
team is a Mossad liaison officer and assassin, Ziva David, who just
happens to be the daughter of the Mossad’s Director in Israel. Gibbs
also considers Ziva like a daughter. Now talk about some chummy
propaganda! Is this even remotely probable in our current reality? I
would speculate that it is, and further, quite possible that Hollywood
is preparing the American public for another inevitable transition as
speak, which is what Hollywood does best.

NCIS and
the majority of American crime dramas continue to perpetuate the lies
and falsehoods of September 11, 2001, which resulted in the ‘War on
Terror’, and the mass audience swallows these suppositions without
hesitation or question. With the blessing of the criminal, corrupt
government in D.C., the most infamous day in American history is being
covered over by a mountain of untruths, then promoted on the academic
pages of new history books to unsuspecting, innocent students.

The American public is suffering from not only a cultural assault on
their value system, but a psychological assault as well from the harmful
effects of television technology. The television is pure poison to the
entire body. Therefore, tune out and turn on to safe, reliable sources
for the truth as represented by this blog.

Moreover, Hollywood has continued it’s form of subtle influence
preparing each successive generation to accept lies as truth and
falsehood as reality. According to Paul Fromm, Canadian Freedom
Activist and speaker, “everyday we awaken in a world of false images
created by the script writers in Hollywood and New York city.”
Literally, we actually live in The Matrixenvisioned in the 1999 blockbuster film of the same name, where virtually nothing resembles the truth as it’s perceived.Mr. Fromm also has a solution for this dilemma, which will be taught for the first time at the Soldiers of the Cross Training Institute.

No. 1 – Recognize that there is a conflict between the Jewish tribe and humanity.No. 2 – We must train ourselves to know their history, philosophy,
and strategy of this enemy if we are to conquer them in the arena of
ideas.No.3 – Mobilize ourselves into a force for freedom.Source: An Opportunity To Train Tomorrow’s Leaders

As a nation we were conquered a long time ago without a revolution,
without storming the congressional offices and without one shot being
fired. The problem remains that not one American witnessed the nation’s
fall into the hands of an enemy that we barely knew even existed.

NTS Notes: It is a fact that the frequency used by Televisions today does coincide with the frequency of alpha waves within our own brains.... It does seem that this has definitely been done by design so as to use Televisions as brainwashing devices for the masses...

I do recommend that those that have not read the Protocols of the Learned Elders of Zion to seriously take the time to read all chapters in this most horrid blueprint for Jewish world domination. Many still claim that the Protocols are a fraud, but I ask these naysayers to explain to myself and others why it is that the Jewish criminals are indeed following the Protocols almost to the letter!

Again, it is good to have Whitewraithe back and writing once again... As more of her material becomes available, I will present it here at this blog for your viewing.. Stay tuned..

The Best Sites Exposing The Truth About Israel's 9:11 Attacks On America

Best Sites For Exposing The Apollo Moon Landings Hoax!

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About Myself

Canadian male, age 57..(Hard to believe I am that old..)
Sickened by the lies of history, and how our education system has ruined and failed our childrens' minds, I decided it was time to take a stand and put up real articles of truthful information.
Willing to fight to see truth come out, and to have the true criminals on our planet exposed for their crimes against humanity.
I am in this for the truth and where ever the truth leads me!
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Northerntruthseeker is fully responsible for all content in this blog. If any errors or omissions are deemed necessary for correction of material, it will be placed into the articles affected, and notice will be put up for all readers. Northerntruthseeker will never accept money, personal gifts, or any threats, given for any material posted in this blog.
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In these times of uncertainty, people deserve the truth no matter how harsh it may be!